Common Law Wife (1963)

US / 76 minutes / bw / Texas Film Producers, Cinema Distributors of America Dir: Eric Sayers, Larry Buchanan (uncredited) Pr: Fred A. Kadane Scr: Grace Nolen Cast: Anne MacAdams (i.e., Annabelle Weenick), George Edgely, Max Anderson, Lacey Kelly, Bert Masters, Libby Booth, Norman Smith, Dale Berry.

Sometime in the early 1960s, schlockmeister Larry Buchanan got halfway through an exploitation movie called Swamp Rose when, for one reason or another (perhaps someone spent the project’s budget on a busfare), he had to abandon it. A while later, director Eric Sayers was hired to cobble together Buchanan’s existing footage with newly shot material and make of the result what he could. That result was the assemblage of continuity errors released as Common Law Wife.

A major problem that Sayers had was that he couldn’t obtain the services of all the same actors Buchanan had used. In most instances the resemblance is close enough that you’re not really aware of the difference. What makes the movie truly confusing, though, is that the two actresses playing the central femme fatale, Jonelle, look nothing like each other—not only that, but they don’t walk the same, they have starkly contrasting Continue reading

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Rope of Sand (1949)

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Burt Lancaster battles it out with Paul Henreid in a tale of diamonds and dust!
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US / 104 minutes / bw / Wallis–Hazen, Paramount Dir: William Dieterle Pr: Hal B. Wallis Scr: Walter Doniger, John Paxton Story: Walter Doniger Cine: Charles B. Lang Jr Cast: Burt Lancaster, Paul Henreid, Claude Rains, Peter Lorre, Corinne Calvet, Sam Jaffe, John Bromfield, Mike Mazurki, Kenny Washington, Edmond Breon, Hayden Rorke, David Thursby, Josef Marais, Miranda (i.e., Miranda Marais).

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Welcome to Diamondstadt, headquarters of the Colonial Diamond Co. Ltd:

“This part of the desert of South Africa, where only a parched camelthorn tree relieves the endless parallels of time, space and sky, surrounds like a rope of sand the richest diamond-bearing area in the world—an uneasy land where men enflamed by monotony and the heat sometimes forget the rules of civilization.”

The place is run like a fascist state in miniature—complete with torture chamber—by its sadistic police chief, Commandant Paul G. Vogel (Henreid), and his thugs. Vogel’s primary task is to ensure that no one strays into the Prohibited Area, a region of desert where sometimes clusters of diamonds can be found mere inches beneath the surface of the sand.

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Total bastard Vogel (Paul Henreid) rules his little fiefdom with an iron fist.

It’s here that Mike Davis (Lancaster) returns after an absence of two years. Almost from the moment of his arrival it’s clear he has a bitter past in Diamondstadt . . . and a bitter past with the loathsome Vogel. When Mike refuses to be intimidated at the docks by Vogel, the police chief deliberately engineers an “accident,” so that a derrick’s worth of stuff falls—not on Mike, because that could cause problems, but glancingly on the leg of a sailor, John (Washington). Mike tends John’s wounds and sends him off to see Diamondstadt’s physician, Dr. Francis Kitteridge Hunter (Jaffe), who’s more or less permanently inebriated but remains competent.

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As Mike (Burt Lancaster, right) tends the wounds of John (Kenny Washington), the two men become fast friends.

Vogel’s boss is a man called Martingale (Rains); he’s listed as Arthur Martingale in the closing credits but in fact called Fred throughout the movie. The two work together and on the surface are allies, but in fact there’s no love lost between them, as we witness when Martingale covertly blackballs Vogel from membership of the snooty Perseus Club in Cape Town. Also in Cape Town, Martingale is picked up by Suzanne Renaud (Calvet), supposedly the French niece of a Colonial Diamond Co. stockholder but in fact a scammer whose trick is to inveigle herself into the rooms of married men and then threaten to accuse them of sexual impropriety.

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Suzanne (Corinne Calvet) casts an alluring glance Martingale’s way.

Martingale, having been informed of Mike’s return to Diamondstadt, calls Suzanne’s bluff—aside from anything else, he isn’t married—but then offers her a job. The reason there’s bad blood between Mike and Vogel is that Continue reading

Thunder Island (1963)

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An exiled dictator, a professional hitman, and the innocents who’re caught in the middle!
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US / 65 minutes / bw / Associated Producers, Cooperative de Artes Cinematograficas, Producciones del Viejo San Juan, TCF Dir & Pr: Jack Leewood Scr: Don Devlin, Jack Nicholson Cine: John Nickolaus Jr Cast: Gene Nelson, Fay Spain, Brian Kelly, Miriam Colon, Art Bedard, Antonio Torres Martino, Esther Sandoval, José de San Antón, Evelyn Kaufman, Stephanie Rifkinson.

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Vincent Dodge (Kelly) used to be a high-powered ad man on Madison Avenue but, when he couldn’t stand the rat race any longer, he left New York to start up a charter-boat service in San Miguel, Puerto Rico. Most of his customers aboard the Idelda are game fishermen, sightseers or scuba divers, but he also has a regular gig running supplies out to the private island that’s the home of exiled dictator Antonio Perez (de San Antón).

Vincent lives a sort of Travis McGee existence, in short, albeit without the babes, because he still yearns for the wife who refused to come here with him, Helen (Spain), and their nine-year-old daughter Josephine “Jo” (Kaufman).

One day Helen and Jo arrive in San Miguel unannounced. Helen has decided to try to find a reconciliation with Vincent, to see if he might be lured back to the big city and the bustling environment of their friends—or her friends, as he corrects her.

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Conversation is at first strained between Vincent (Brian Kelly) and Helen (Fay Spain).

While it’s obvious they both still love each other—and can hardly keep their hands off each other—Vincent doesn’t see returning to New York as on the cards. Since they’ve tried living together in the city and that didn’t work for him, why not Continue reading

Case Against Brooklyn, The (1958)

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Darren McGavin socks jaws and blasts bullets as he exposes cops who’ve sold out to the Syndicate!

US / 81 minutes / bw / Morningside, Columbia Dir: Paul Wendkos Pr: Charles H. Schneer Scr: Raymond T. Marcus (i.e., Bernard Gordon), Daniel B. Ullman Story: “I Broke the Brooklyn Graft Scandal” (n.d. True Magazine) by Ed Reid Cine: Fred Jackman Cast: Darren McGavin, Maggie Hayes (i.e., Margaret Hayes), Warren Stevens, Peggy McCay, Tol Avery, Emile Meyer, Nestor Paiva, Brian Hutton, Robert Osterloh, Joseph Turkel, Bobby Helms, John Zaremba, Thomas Browne Henry, Joe De Santis, Michael Garth, Herb Vigran, Cheerio Meredith.

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Case Against Brooklyn - 0a other opener

Journalist Ed Reid (uncredited, but possibly played by himself) has blown the story wide open: not only is NYC full of “horse rooms” (illegal bookie joints) but the taking of bribes by the cops to look the other way is rife. His stories in the newspapers draw the attention of DA Michael W. Norris (Avery) and leading bookie Finelli (Paiva), albeit for very different reasons.

Case Against Brooklyn - 1 Finelli hands over the days takings to Rudi

Finelli (Nestor Paiva) hands over the days takings to his henchman Rudi (Warren Stevens).

Norris decides to set up a sting operation using recent graduates from the police academy, who presumably can be expected to have not yet discovered the allure of corruption. Chief among these—or, at least, the rookie whose story we follow—is Pete Harris (McGavin), a man who has some relevant experience in that he did intelligence work for the US Marines in Japan. Pete chooses as his sidekick his old academy comrade Jess Johnson (Hutton) and the pair rent an apartment that’s Continue reading

Blues in the Night (1941)

US / 88 minutes / bw / Warner–First National Dir: Anatole Litvak Scr: Robert Rossen, Elia Kazan (uncredited) Story: Hot Nocturne (unproduced play) by Edwin Gilbert Cine: Ernie Haller Cast: Priscilla Lane, Betty Field, Richard Whorf, Lloyd Nolan, Jack Carson, Wally Ford, Elia Kazan, Peter Whitney, Billy Halop, Howard Da Silva, Joyce Compton, Herbert Heywood, George Lloyd, Charles Wilson, Matt McHugh, William Gillespie, Jimmie Lunceford and His Band, Will Osborne and His Band, Mabel Todd, Ernest Whitman, Napoleon Simpson, Dudley Dickerson.

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Ernest Whitman and Napoleon Simpson.

Brilliant jazz pianist Jigger Pine (Whorf) and drummer Peppi (Halop) are rocking the joint at the St. Louis Cafe, egged on by their clarinetist fan and would-be band member Nickie Haroyan (Kazan). Jigger gets into a fight with an obstreperous drunk (McHugh) and the trio end up in a cell for a few hours while Nickie’s mom arranges bail. There they meet Jigger’s old bassist pal Pete Bossett (Whitney) and Jigger spells out his vision to the other three:

“You think I never thought about starting a band before? I thought about it lots of times. I’m always thinking about it. But it’s got to be our kind of music. Our kind of band. The songs we’ve heard when we’ve been knocking around this country. Blues, real blues, the kind that come out of people, real people, their hopes and their dreams, what they’ve got and what they want, the whole USA in one chorus. . . . And that band ain’t just kinda blowin’ and poundin’ and scrapin’. That’s five guys, no more, who feel, play, live, even think the same way. That ain’t a band, it’s a unit. It’s one guy multiplied five times. It’s a unit that even breathes on the same beat. It’s gonna kick on its own in a style that’s theirs and nobody else’s. It’s like a hand in a glove, five fingers, each to fit quick and slick.”

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Nickie (Elia Kazan) calls Mom to bail out him and his pals (Whorf and Halop).

And there are quirks in the reification of this dream, at least as portrayed in this movie. The four in that jail cell form Jigger’s “unit” all right—adding trumpeter Leo Powell (Carson) and his wife, singer Ginger “Character” Powell (Lane), along the way—but Continue reading

Nightmare (1942)

US / 81 minutes / bw / Universal Dir: Tim Whelan Pr & Scr: Dwight Taylor Story: Philip MacDonald Cine: George Barnes Cast: Diana Barrymore, Brian Donlevy, Henry Daniell, Eustace Wyatt, Arthur Shields, Gavin Muir, Stanley Logan, Ian Wolfe, Hans Conried, John Abbott, David Clyde, Harold de Becker, Ivan Simpson, Keith Hitchcock, Lydia Bilbrook, Pax Walker.

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Gambler Dan Shane (Donlevy), homeless while waiting in London during the Blitz for the chance to take a boat home to sign up for the US armed forces, opportunistically enters the servants’ quarters of a house in Crescent Gardens that he believes to be empty, and purloins a couple of eggs for a meal.

But the house isn’t empty. Suddenly he’s confronted by the occupant, pretty young Leslie Stafford (Barrymore), who makes him a deal: if he’ll somehow remove the just-discovered body of her murdered husband, Captain Edgar Stafford (Daniell), from the house, she’ll Continue reading

Down Three Dark Streets (1954)

US / 86 minutes / bw / UA Dir: Arnold Laven Pr: Edward Small, Arthur Gardner, Jules V. Levy Scr: The Gordons, Bernard C. Schoenfeld Story: Case File: FBI (1953) by The Gordons Cine: Joseph Biroc Cast: Broderick Crawford, Ruth Roman, Martha Hyer, Marisa Pavan, Casey Adams (i.e., Max Showalter), Kenneth Tobey, Gene Reynolds, William Johnstone, Harlan Warde, Jay Adler, Claude Akins, Suzanne Alexander, Myra Marsh, Joe Bassett, Alexander Campbell, William Schallert, Charles Tannen, William Woodson, Dede Gainor.

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Presented in the same docudrama style as The NAKED CITY (1948) and its many imitators, complete with the hard-voiced narration (Woodson) and the implication that the story we’re being told is true history, not invention, this is the first movie to feature FBI Agent John “Rip” Ripley, the hero of several of The Gordons’ novels; the other (and fractionally more noirish) Ripley movie was EXPERIMENT IN TERROR (1962) dir Blake Edwards, in which Ripley was played by Glenn Ford.

FBI Agent Zack Stewart (Tobey) is assigned the case of renegade hoodlum Joe Walpo (Bassett) after Walpo’s latest killing, the shooting of a gas jockey, Ben (Schallert), who recognized him. Stewart is already working on the case of Vince Angelino (Reynolds), an ordinary joe who managed unwittingly to get involved with a gang of car thieves and is now terrified of possible repercussions should he tell what he knows. When young, recently widowed fashion designer Katherine “Kate” Martell (Roman) phones the FBI to tell them she’s just had a threatening phonecall—in an electronically disguised voice—from an extortionist demanding Continue reading

Young Captives, The (1959)

US / 66 minutes / bw / Paramount Dir: Irvin Kershner Pr & Scr: Andrew J. Fenady Story: Gordon Hunt, Al Burton Cine: Wallace Kelley Cast: Steven Marlo, Luana Patten, Tom Selden, James Chandler, Ed Nelson, Dan Sheridan, Marjorie Stapp, Miles Stephens, Edward Schaaf, Joan Granville, Raymond Guth, Carol Nelson.

Young Captives 6 - Just a nice picnic in the desertAnn (Luana Patten) and Jamie (Steven Marlo): a campfire in the desert.

Drunk and enraged, no-good James “Jamie” Forbes (Marlo) beats to death the oil-rig boss, Mr. Kingston (Guth), who kicked his transistor radio to bits and fired him, then steals Continue reading

Secret Evidence (1941)

US / 63 minutes / bw / PRC Dir: William Nigh Pr: E.B. Derr Scr: Brenda Cline Story: Edward Bennett Cine: Arthur Martinelli Cast: Marjorie Reynolds, Charles Quigley, Ward McTaggart, Howard Masters, Bob White, Kenneth Harlan, Donald Curtis, Charles Phipps, Dorothy Vaughan, Bud Buster, Kitty McHugh, Boyd Irwin.

On the eve of accepting a new job as Assistant Prosecutor, lawyer David Harrison (Quigley) becomes engaged to his longtime secretary Linda Wilson (Reynolds). That same night, however, her ex-fiancé Tony Baxter (McTaggart) calls by her house; released from jail after serving four years for robbery, he wants to reclaim the stash he left with Linda’s kid brother Jerry (Masters) . . . and is mortified to discover Linda made Jerry turn over the loot to the cops. And, of course, Tony would like to renew relations with Linda.

She tries to tell him to get lost, but in the end agrees to meet him later that night at his lodgings in the down-at-heel Arcadia Cottages . . . where, unknown to her, Tony has booked her in as his wife. By the time she gets there, however, Tony has broken it to his old accomplice Sniffy (White) that the loot they stole together is no more; Sniffy, believing Tony’s trying to stiff him of his share, shoots him—although the wound’s only superficial. As this is all going on, Linda arrives and, separately, Jerry, the latter with a gun; when Linda struggles to get the gun from him, it goes off. No one’s hurt by this accidental detonation but the appearance is that it might have been Jerry who shot Tony, and Tony isn’t planning on telling the cops who his assailant was, not when he has the chance to make David look stupid in front of the woman they both crave.

To the bafflement of the DA, William Burt (whom we don’t actually see), David persists in pressing the prosecution of Jerry even after forensics demonstrate the bullet that wounded Tony didn’t come from Jerry’s gun . . .

The story’s obviously somewhat fanciful, but at the same time it’s rather cleverly worked out, and overall this is quite neatly scripted—a cut above the PRC norm. The production values and acting standards are, alas, more as we’re accustomed to seeing from this studio: scenery that looks as if it might fall over if anyone slams a door too hard, hasty sound editing, and patchy acting, with Reynolds her usual charming self, McTaggart and especially Masters surprisingly good, and all the rest—including leading man Quigley—being at best blandly forgettable.

Reynolds’s time of glory was just about to begin: the following year she’d be starring opposite Bing Crosby and Fred Astaire in Holiday Inn (1942); by then, though, she’d have made no fewer than six further movies for the likes of PRC.

On Amazon.com: Secret Evidence and Secret Evidence

 

Mr. Reckless (1948)

US / 67 minutes / bw / Medallion, Pine–Thomas Dir: Frank McDonald Scr: Maxwell Shane, Milton Raison Cine: Ellis W. Carter Cast: William Eythe, Barbara Britton, Walter Catlett, Minna Gombel (i.e., Minna Gombell), Lloyd Corrigan, Nestor Paiva, Frank Jenks, Ian MacDonald, James Millican.

Oilman Jeff Lundy (Eythe) returns to LA from two years drilling in Louisiana to discover that his good buddy, restaurateur Gus Patrokios (Paiva), is engaged to Jeff’s old flame Betty Denton (Britton), even though Betty’s only half Gus’s age. Aside from being miffed, Jeff assumes Betty’s motives must be entirely mercenary; she has, after all, a scapegrace father, Hugo (Corrigan), whose bad habits are expensive.

The principals go to a new oil development in the desert, where Jeff and Hugo work on the rigs with Jeff’s old pal Pete (Millican) while Gus sells meals to the oilmen. Hugo’s gambling gets him heavily in debt to oilfield bully Jim Halsey (MacDonald); a few hours before Betty’s and Gus’s wedding, Halsey locks Hugo into an empty oil tank to “think things over.” In a fight with Halsey, Gus breaks his hip. Jeff rescues Hugo just in time, as oil flows into the tank. The wedding’s delayed until Gus recovers from his injuries; in the meanwhile Jeff and Betty realize they’re still as much in love as ever, but agree Betty can’t jilt Gus. But then Jeff’s crippled by a vengeful Halsey . . .

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Climbing the rig . . . to doom?

Gombel/Gombell plays the feisty landlady of the boarding house in which the principals lodge. Catlett, as her ne’er-do-well husband Joel, combines with Corrigan for a late example of one of those dreary “comic interludes” that marred so many Hollywood movies of the ’30s. Otherwise, the movie’s quite worth watching, and the scenes as the good guys rush to free Hugo from the oil tank are genuinely exciting. Mr. Reckless shares some ingredients with The POSTMAN ALWAYS RINGS TWICE (1946), but here the principals—Halsey of course excepted—all have their hearts in the right place; and, although the circumstances lead inevitably to tragedy, some sort of happy ending emerges from it.

On Amazon.com: Mr. Reckless